Nastja Žgur – acting director (1.1.1970 to 30.9.1970)
Darijan Božič – director and artistic director (1.10.1970 to 30.9.1974)
Oskar Danon – chief conductor (1970–974)
Anton Kolar – assistant conductor (1972–1979)
Uroš Lajovic – assistant conductor (1972)
Darijan Božič started his work as director with great ambitions for the Slovenian Philharmonic orchestra to become the best in the country, with a quality comparable to other European orchestras. And so the internationally-acclaimed conductor Oskar Danon was brought to Ljubljana from Belgrade as a chief-conductor.
“The three basic tasks set by the artistic management of the Slovene Philharmonic are: to raise the quality of the orchestra, to focus on Slovene creativity and to concentrate on Slovene musicians.” The first task was in the forefront of that season, whilst the second and third were constrained by circumstances. Božič maintained that “everything cannot be done at once, and trying to rush very rarely produces good results in art”. The number of season-ticket cycles remained at three, they were still named after colours, but now subtitles were added (“symphony”, “concert” and “poetic themes in music”).
In the season (1972–1973), Božič introduced a new season-ticket arrangement. Instead of three, named after colours, there were 6 season-ticket cycles, according to the interests of the audience.
Many Slovenian artists also appeared with the Slovenian Philharmonic orchestra. An important contribution was made by Marko Munih (1963-1971), who was Švara’s and then Matačić’s pupil, and Anton Nanut (1980-81), who conducted the orchestra mainly in the second half of the seventies.
Anton Kolar – acting director (1.10.1974 to 1.2.1975),
Marjan Gabrijelčič – artistic director (1.2.1975 to 1979),
Dragiša Ognjanović – organisational-financial director (1976 to 1980)
Marijan Gabrijelčič presented his vision at the start of the 1976-1977 season in the following words: “A new season is ahead of us, in which we are part of the common search for artistic experiences. Unity is dictated by composers’ messages from the past and present, as well as by our aspirations to increase our capacity to respond to these messages.”
“In this 30-year period we have been shaped by our contacts with both old and contemporary musical ideas. These have given birth to the creative passions of our artists, which had not been able to take proper root in the past. Nearly all the forces of Slovene musicians were combined by the uniting role of the Philharmonic. The wide-reaching and multi-faceted Slovene Philharmonic was not just the point of contact for the concert presentation of music. Its educational and creative stimulants are two equally important characteristics, and beyond them there is an even greater obligation – to keep pace with international musial developments and thus gain the recognition of our creative independence. The path to acquiring this last characteristic was long and arduous. It has now been partially tried and trodden, but a major task for the future is the wide and thorough exposure of all our musical forces to the open world of music.”
But above all, he emphasised guest appearances, the number of which had grown in the period between 1975 and 1978 “with such speed that it is interesting to demonstrate it with the following fact: the Slovene Philharmonic made more guest appearances in this period than in the previous 26 years combined. Similarly, more Slovene works were presented in many European countries and in the USA (among others, works by Bravničar, Božič, Ciglič, Stibilj, Lebič, Ramovš, Osterc, Kozina and Srebotnjak)”.
The Slovene Philharmonic Orchestra appeared at various festivals and events: at the Warsaw Autumn, at festivals in Ascona and in Mons, at the orchestra festival in New York (Carnegie Hall), in Salzburg at a season-ticket concert, in Switzerland, at the days of Yugoslav culture in the Soviet Union, and so on. Since the War, the Slovene Philharmonic had made guest appearances in 11 countries, in 105 towns and 40 smaller places in Slovenia, and in 16 Yugoslav towns.
During Gabrijelčič’s period as director, the Philharmonic choir ceased to exist (1976), which caused problems in the performance of vocal-instrumental works. The gap was filled to a large extent by the amateur ‘Consortium Musicum’ (led by Mirko Cuderman) and other choirs. The management of the Philharmonic was divided into organisational-financial and artistic sections.
Uroš Lajovic – acting director (1.10.1974 to 1.2.1975)